Vania

Both the public and the actors share the reduced space of a box, inside which develops an intimate and austere version of one of the greatest works of the XX century dramaturgy.

Uncle Vania is one of Anton P. Chekhov's most famous plays, with characters who, bored and disgusted, seem to have lost the course of their lives and who, with their boredom, represent a yawning-like humanity. Edited in 1899 and represented for the first time in 1900, Uncle Vania has been seen in a thousand and one ways, but never as presented by director Àlex Rigola. He seeks to present, in the utmost intimacy, a story of disappointment and sadness, a tragic vision of the world today that the characters and the public will share locked inside a unique scenic space: a large wooden box in which sixty spectators barely fit. All of them co-star in this way a different theatrical experience that eliminates the distance between actors and audience, but also between the actors and the characters they play.

Perhaps the staging of this version for four actors of the classic play will remind the audience of the Grec show Who is Me. Pasolini, seen in the 2017 Grec and signed by the same Àlex Rigola and which also had a large box similar to those used to transport works of art. It is an aspect of the new theatrical language that Rigola uses in his latest productions, a director who had previously signed performances such as 2666, an adaptation of Roberto Bolaño's novel; The public, by Federico García Lorca or the stage adaptation of Incierta glòria, the Joan Sales novel.